This invention generally relates to the field of stringed instruments. Specifically, the invention relates to a neckless lap acoustic guitar and a novel attachment assembly for connecting the guitar body to its head.
In the field of music there are numerous stringed instruments, for example, violins, cellos, electric guitars, acoustic guitars, sitars, etc. Each of these instruments creates a variety of sounds, and the variety of sounds in turn creates richness and diversity in the world of acoustics. A person trained in music, however, can differentiate one sound made by these instruments from another, even if the same note is played on different instruments. For example, a musician can differentiate a note played on a violin from a note played on a viola based on methods for playing the instruments, the length of strings, diversity of acoustic chambers, quality of sound created through varying resonance, quality of tone, timbre and amplitude of sound, among others.
Similarly, in the field of guitars, a musician can differentiate the sounds made by different guitars based on the above mentioned factors. Many inventors have successfully altered the sound quality of these guitars by altering their shape, size and design. The art of guitar-making, however, specifically, the art of making acoustic guitars, has remained relatively unchanged for the past 250 years. Small improvements have been made in the bracing and neck block structure to help prevent flexing at the sound box (also referred to as acoustic box, acoustic chamber and sound chamber) and at the neck joint. Other improvements have been made to alter the sound by creating different shaped sound boxes or acoustic chambers.
For example, in a Dulcimer, U.S. Pat. No. 3,561,314, a substantially rectangular sound box is used to create a variation in timbre, resonance, tone quality and amplitude of sound. Yet another construction of a sound box is demonstrated in Kimmon""s three stringed musical instrument as found in U.S. Pat. No. 2,499,124. Kimmon""s sound box is constructed of a flat top 9, a flat bottom 10, and continuous curved side wall 11. These elements combine to form the body 8, which is enlarged adjacent the tail end thereof, rounded at the end, and tapered gradually toward its opposite, neck end. (Col. 1, lines 53-56 and Col. 2 lines 1-3). The finger board 14 is provided with depending end portions 15 and 16, which rest upon the top 9, adjacent to the end thereof, for supporting the intermediate undercut portion 17 of the finger board 14 in spaced apart relationship to and over the body 8. (Col. 2, lines 14-20). This instrument is played by a pick or a plectrum.
The stringed instrument in U.S. Pat. No. 1,304,914 depicts a lap or tabletop instrument, wherein the sound box includes an arch for the greater portion of the length of the instrument and for the full width thereof. (Lines 58-70). Freeman""s violin, U.S. Pat. No. 3,853,032 has a sound chamber that has an exterior shape substantially in the shape of a baseball bat. Psaltery, U.S. Des. Pat. No. 415,517, a design patent, appears to show an acoustic chamber, apparently contained in its entirety along the design of the stringed instrument.
Other variations in sound boxes are found in U.S. Pat. No. 1,839,244 for a combined neckless guitar-mandolin, a double or twin stringed instrument such as a mandolin as shown in U.S. Pat. No. 2,800,050, a stringed musical instrument or an acoustic guitar as found in U.S. Pat. No. 5,895,872, and stringed musical instruments as found in U.S. Pat. Nos. 1,364,217; 1,335,010; Des. 28,340; 636,692; 989,510; Des. 384,689, 5,811,704, and 1,426,852, among others.
There are numerous stringed instruments worldwide that have different sound boxes such as a Sarod, a Dilruba, an Israj, a Sarangi, a Sitar, an Oud, a Lute, an Egyptian Oud, an Amigo Mandolin, an Turkish Laouta, etc. The differences in the sound quality and timbre of all these instruments are attributable to various factors, including variations in shape, size, and construction of the sound boxes among other previously discussed factors. However, more musical instruments are desirable, wherein the sound boxes or acoustic chambers are contoured in a manner such that unique timbre, resonance, tonal quality and sound amplitude are created. While creating various contours for acoustic chambers, it is important that the frame remains stable and does not yield to torsion created by tense strings, mostly spread across the surface of the acoustic boxes.
Frequently, these instruments need repair because of several factors, including the fact that the torsion of strings on the surface flexes, buckles, opens or warps the sound chamber and alters the sound produced from it. When the instruments need any repair, the entire instrument has to be undone and unglued, such that those necessary repairs may be performed. Such a repair is often expensive and consumes an inordinate amount of time.
Accordingly, the need exists for creating a new musical instrument with a different sound quality. Additionally the need exists to create a novel instrument, wherein the acoustic chamber has a stable frame that does not buckle or flex and break under the torsional forces of the attached strings. Finally the need exists for an instrument in which efficient and effective repair may be performed without dismantling the entire body when the instrument is damaged, broken or unglued.
The novel neckless guitar generally includes a guitar body that is essentially tear-shaped in front view, with a front side and a back side that are essentially parallel to each other. The tear-shaped acoustic chamber is formed within this body, and the inner surface of the chamber conforms substantially to the outer surface of the body. The guitar body has a rounded a bottom end, and opposite to the bottom end is a narrow top end. A peg head having at least one receiving slot is attached to the top end of the guitar body such that no neck region is formed. The neckless guitar has a fret board that is mounted on its front side and is positioned between an opening formed in the front side, and the top end of the chamber. There is a saddle assembly mounted on the front side for placing one end of at least one string. Each string is held at the opposite end by a tuning key, which in turn passes through the respective receiving slot. Each string also passes over a nut assembly placed at the top end of the body.
In one embodiment of the present invention, a neckless guitar has an attachment assembly for connecting a guitar body to the peg head. A peg head block is positioned on the top end of the guitar body and a gusset couples the peg head block and the peg head.
Various other features, objects, and advantages of the invention will be apparent to those skilled in the art from the following detailed description including illustrative examples setting forth how to make and use the invention.